On Metal Chaos Ensemble: "... using unique strategies to yield densely active and eerily surreal music, an incredible excursion through experimental improvisation." - Squidco website staff
On Leap of Faith: "Alien yet familiar, bizarre yet completely fascinating. Expanding, contracting, erupting, settling down, always as one force..." - Bruce Lee Gallanter, DMG
Links to previous PEK solo releases
The Unreality of Time (2018)
Thulsa Doom (2017)
YouTube YouTube YouTube YouTube
Evil Clown Album Page
LIVESTREAMED TO YOUTUBE
Evil Clown Headquarters, Waltham MA
2 September 2021
Simulacrum - Synesthesia
Review Excerpt by Darren Bergstein, Downtown Music Gallery
“…PEK, Bob Moores, and Eric Woods (aided and abetted by recording engineer Joel Simches, whose real-time signal processing provides the icing on the cake), performing on their usual armament of instrumentation both acoustic and electronic, guide us across a scorched earth of noises, tones, and sequences that burst like iridescent fireworks for the mind, leaving after-images permanently burned on our retinas…”
Excerpt from PEK Liner Notes
“... The basic idea of this band is to increase the amount of electronics, to keep the ancillary percussion and loose the drum set, along with PEK and Bob holding down the horn parts. Even without the drums, this set tilts more in the noise direction than typical of Metal Chaos Ensemble. I am interested to see where this project goes as we continue. I like this session and I think you may too…”
"An offshoot of Metal Chaos Ensemble, this Evil Clown collective features David Peck on reeds, percussion and electronics, Bob Moores on space trumpet, guitar, and electronics, Eric Woods on analog synth and Joel Simches on real-time electronics, "synesthesia" a perceptual phenomenon where stimulation of one sensory pathway leads to involuntary experiences in a 2nd. "
Audio CD Evil Clown 9282
Simulacrum - Synesthesia
Evil Clown Headquarters, Waltham MA
2 September 2021
Synesthesia - 1:10:16
PEK - clarinet, contralto & contrabass clarinets, alto & tenor saxophones, piccolo oboe, bass flute, sheng, fog horn, glockenspiel, crotales, orchestral castanets, gongs, plate gong, finger cymbal, brontosaurus & tank bells, brake drums, Tibetan Bowls, log drums, wood blocks, almglocken, cowbells, daiko, spring boxes, chime rod boxes, electric chimes, [d]ronin, electric upright bass, lfo & frankenstein synths, moog subsequent, prophet, syntrix, novation peak, LinnStrument midi controlers, loop station, voice
Bob Moores - large bell pocket trumpet through zoom multi-effects pedal, electric guitar with various effects, MainStage soft-synths on Mac laptop, Moog D emulator on iPad, crackle box, contact microphone with effects, crank siren, electric upright bass, moog subsequent, prophet, syntrix, novation peak, LinnStrument midi controlers, voice
Eric Woods - analog synthesis
Joel Simches - real time signal processing, live to 2-track mix
Video Grabs & Instrument Photos..
Liner Notes by PEK
The pandemic forced me to focus on solo works for its duration. It was fun to explore the world of overdubbing and multichannel recording for a year or so, but I am more than ready to resume ensemble playing. When the hammer came down in March of 2020, Evil Clown had some great momentum recording a number of great projects in a few short months: Leap of Faith had just recorded Principles of an Open Future for Relative Pitch, Metal Chaos Ensemble had just recorded The Riddle of Steel, Turbulence had just recorded Friction Coefficients, and new ensemble Expanse had just recorded Main Sequence. All of these projects would have made great music during the last year. Now that we are coming back to a more normal world and I have started LIVESTREAMING shows from Evil Clown Headquarters, all of these projects are picking up again.
Another new project that was conceived at this time was Simulacrum. This new band is an offshoot of Metal Chaos Ensemble featuring 3 the core members PEK on all my stuff, Eric Woods on analog synth, and Bob Moores on space trumpet, guitar, and electronics. Our debut set, Hyperreality, from a few months back included a few special guests, like many Evil Clown albums do, but this new set is stripped down to just the core trio.
There was a first set for this band on the book which was cancelled for the virus. The basic idea of this band is to increase the amount of electronics, to keep the ancillary percussion and loose the drum set, along with PEK and Bob holding down the horn parts. Even without the drums, this set tilts more in the noise direction than typical of Metal Chaos Ensemble. I am interested to see where this project goes as we continue. I like this session and I think you may too…
PEK Out – 9/4/2021
Review by Darren Bergstein, Downtown Music Gallery
SIMULACRUM - Synesthesia (Evil Clown 9282; USA) Synesthesia is loosely defined as a phenomenon wherein you hear music but see shapes and/or colors. The word translates as “perceive together”, a strange and aberrant twisting of perception wherein one sensory stimulus is seen through the prism of a different stimulus. The Simulacrum collective knows this condition only too well, and comes about as close as anyone can to making synesthetes out of us all. Dave PEK, Bob Moores, and Eric Woods (aided and abetted by recording engineer Joel Simches, whose real-time signal processing provides the icing on the cake), performing on their usual armament of instrumentation both acoustic and electronic, guide us across a scorched earth of noises, tones, and sequences that burst like iridescent fireworks for the mind, leaving after-images permanently burned on our retinas. At roughly the ten-minute mark of this hour-long improv opus, spurts of random-access synth give way to morse-code beeps and telex arcana while tinkling percussives enter the airspace sideways amidst dive-bombing flares of horn. What seems like flagrant chaos and barely-controlled noise reveals layers of expertly telegraphed pulse that mitigates the idea these blokes are simply blowing in to the wind; the torrent of ideas leaping out at you from all angles paint a portrait of mad geniuses at play who know how to expertly navigate the complex soundfields they instantly devise. It almost sounds devilishly composed at points, but so much is happening at any one moment you realize all three musicians are in a veritable frenzy trying to get a grip on the landrush of ideas they’ve unleashed. As the music waxes and wanes, a plucking of guitar here, a tsunamic-rush of electronics there, the listener is so swept up in this galvanic ecosystem there’s barely time to catch a breath. Couldn’t imagine any other collective you’d prefer to be willingly asphyxiated by. - Darren Bergstein, Downtown Music Gallery
Composer and multi-instrumentalist, PEK, set his sights on something bigger with the Leap of Faith Orchestra's Supernovae. The previous incarnation of the LOFO expands from the fifteen musicians on The Expanding Universe (Evil Clown, 2016) to twenty-one players on this new outing. Another noteworthy element of this project is PEK's use of Frame Notation where the score is seen in written descriptions and straight-forward symbols within Duration Bars. The system provides the musicians with immediate understanding of their own parts and the higher-level arrangement of the music.
Supernovae consists of a single track composition running just under eighty minutes. The digital download includes a bonus track. Though the extended piece is not broken out by formal movements, there are clear delineations within the score. PEK's ensemble—not surprisingly—includes enough non-traditional and weird instruments to compete with a Dr. Seuss orchestra. Though they are not playing in a vacuum, that group of instruments dominates the first ten minutes before strings and reeds make themselves more clearly heard. Forty-five minutes in, we have the first case of prolonged melody, darker and more subdued than the overall tone of the first half.
Supernovae gives way to free improvisation overlaying the melody. Eventually the piece introduces a brilliant percussion passage before it reintroduces the non-traditional music elements, but here in a more refined manner. As with all of PEK's compositions, there is—behind the scenes—a painstaking amount of organization that is not always evident in the listening. That is part of the beauty of this album; the non-traditional approach to instrumentation and the lack of adherence to Western structure continue to make the various iterations of Leap of Faith consistently interesting. And interesting look at the written score can be viewed at http://www.evilclown.rocks/lofo-supernovae-score.html.